The self-titled record from Fenix TX came with a number of firsts for the band. It was their first major label LP, the first record that they would release after re-branding from Riverfenix to Fenix TX, and their first real exposure to the mainstream of pop-punk that was beginning to blossom during the summer of 1999. Other pop-punk bands, like Blink-182, were getting major radio airplay and more audiences were being exposed to this genre of music. Fenix TX was produced by Jerry Finn, Ryan Greene, and Jim Barnes, and the band would continue to work with Finn on their equally successful Lechuza. This self-titled LP by the pop-punk band from Houston still sounds as charming, polished, and at moments a bit before its time. For every great track like “All My Fault” and “Flight 601 (All I Got Is Time),” there’s a goofy song like “Rooster Song” to show their audience that they were growing up and to not be taken too seriously. There’s plenty to love and enjoy on this LP that would provide plenty of clues of where Fenix TX would take their sound on subsequent releases.
The album blasts off on the right foot with “Flight 601 (All I Got Is Time)” that features great dual-riffing from Damon DeLaPaz (guitar) and lead vocalist/guitarist Will Salazar, while the late Adam Lewis (bass) laid down a nice, pulsating bass line. Drummer Donnie Reyes showcases some nice restraint on the quieter parts of the song and understands when to kick into a new gear when the rhythm section explodes out of the bridge. “Minimum Wage” follows the smooth as silk opener with some sloppy punk rock that is reminiscent of other bands like NoFX, The Offspring, and even Blink-182. “Surf Song” is a perfect, windows down on a summer day kind of jam, that still stands the test of time to this day.
”All My Fault” gets a nice sheen/cosmetic makeover from the Riverfenix version of the song, that came out two years prior, and earns its place of one of the scene’s greatest pop-punk songs of all time. It’s a well-constructed jam that opens up with a simple riff, while later adding in different sections and parts to the track to make for an ultra-memorable single. Salazar sings on the chorus, “Tell me something that’s sure to break my heart / ’cause everything’s my fault / And I know I deserve to be alone / ’cause everything’s my fault,” and it’s easy to see why the band connected with so many audiences through their smooth delivery of music.
The middle of the album features some playful titles like the slick pop-punk polish of “Jolly Green Dumbass,” the more abrasive side of the band in “G.B.O.H.”, and a riff-heavy track in “Ben.” Fenix TX showcase their great band chemistry and attention to detail on mid-tempo songs like “Speechless” and the Dude Ranch-esque punk of “Philosophy.” Other late standouts like “No Lie” features another memorable bass line from Adam Lewis, while the crowd favorite “Apple Pie Cowboy Toothpaste” is a ridiculous title for a song that has some troublesome lyrics with today’s ears on them. The closing duo of “Jean Claude Trans Am” and “Rooster Song” filled out the record with some more tongue-in-cheek lyrics paired with a great pop-punk sound that still rocks to this day.
Fenix TX were not the most popular band in the Drive-Thru Records roster, but they certainly are one of the most adored by their fanbase. Seeing how many lives the band touched helps put a nice bow on the legacy they have left behind, and I hope that the family of Adam Lewis knows just how loved this band was to so many people, and that the band members are genuinely great people to be around. For now, let’s all give this album another spin to celebrate the life and legacy of not only Adam Lewis, but Fenix TX as a whole.